A RENDERING P LU G I N FO R DESIGNER S V-Ray for SketchUp By Chia Fu Chiang Damien Alomar Jorge Barrero

Table of Contents Install V-Ray for SketchUp...................................................... .......... Activating V-Ray for SketchUp........................................ ................... Before you Start Rendering.................................. ............................. Understanding Default Settings.................... ...................................... Render Options........................... ................................................. Save and Load Option Settings Two ways to assign materials in V-Ray Material Editor........................... .................................................. Diffuse Layer Adding a new Ma terial How to duplicate a material How to change the name of a material How to r emove a material Others Material Usage.......................................... ................................... Add Lights.................................. ................................................ The Characteristics of Rectangu lar Light............................................... Size does matter Shadow s change according to the size Impact on reflective objects due to visible and i nvisible rectangle light Double Sided Option Material: Reflection Layer......... ....................................................... Adding Reflection Layer Fresnel Reflections Reflections and Highlights.................................. .............................. Other Parameters................................. ......................................... Reflection Glossiness Reflection Filte r Refraction Layer.............................................................. ............. Add Refraction Layer Controlling the Amount of Transparency The co lor of refractive materials Fog Settings Explained Adjusting Refraction IOR The Glossiness of Refractive Materials Shadows of Refractive Materials Double-Sided Material Translucent Material Emissive Materials................................ ......................................... Add Emissive Layer Adjust the Intensit y Adjust the Color Emissive Textures Texture Mapping............................ ............................................... Projection Types and Adjustments Bump Maps...................................................................... ........... Displacement........................................................ ...................... Adding Displacement Displacement Parameters Adjusting Dis placement 6 7 8 9 10 14 18 20 23 26 28 29 31 39 43 46 48

Transparency Mapping............................................................ ........ What is Transparency Mapping How Transparency Mapping Works Another Met hod to create the same result Other uses for transparency mapping V-Ray Linked M aterial..................................................................... V-R ay Two-Sided Material........................................................... ...... Adding a V-Ray Two-Sided Material Working with V-Ray Two-Sided Material V -Ray for Sketch Up Two-Sided Material........................................... ...... Adding a V-Ray for Sketch Up Two-Sided Material Working with V-Ray for Sk etch Up Two-Sided Material Environment Lighting................................. .................................... Interior or Exterior? Techniques for adjust ing illumination HDR Environment Light Source Bitmap Environment Light Source En vironment Light source for semi-open space Choosing different Render Engines.... .................................................. Classification of Light Bounc es Primary Engine: Irradiance Map Primary/Secondary Engine: Quasi Monte Carlo Se condary Engine: Light Cache Lighting Dialog Box................................. ....................................... Light and Shadow........................ .................................................. The Quality of Shadow Radius for Shadow edge Depth of Field.................................................. ............................ What is Depth of Field? How to find out the focal d istance Size of Aperture Change focal distance Physical Camera.................. ......................................................... Type of Camera Exposur e Adjusting Exposure Using Aperture Using Shutterspeed Using ISO Adjusting White Balance Sun and Sky............................................................ ..................... Using the Sun with the V-Ray Physical Camera Accessing the Sun Properties Exposing Your scene with the Physical Camera Adding the V-Ray Sk y Time of Day and the Sun's appearance Changing the Sun's Appearance with Turbid ity Changing the Sun's Appearance with Ozone Gamma Correction and the V-Ray Sun and Sky Enabling Gamma Correction Using Color Mapping with the V-Ray Sun Caustic s............................................................................... ..... What are Caustics? Examples 50 52 53 54 55 63 70 71 72 75 78 81

Color Mapping................................................................... ........... The Function of Color Mapping Types of Color Mapping Adaptive Subdiv ision Control............................................................. Adapt ive Subdivision Sampler Fixed Rate Sampler Adaptive QMC Sampler Resolution of th e Image................................................................... Image size setting Saving your image V-Ray Frame Buffer.............................. .......................................... Render image window toolbar Distribut ed Rendering.................................................................... . Setting Up the V-Ray Distributed Rendering Spawner Finding the IP address of t he slave Computer Starting the DR Spawner Connecting to Slave Machines Some Cons iderations for Distributed Rendering Sample Materials........................... ............................................... 83 84 85 86 87 89

Installing V-Ray for SketchUp 1. Make sure that SketchUp is closed and begin the installation process. 2. Lice nse Agreement, click next to continue. 3. Choose complete setup type, click next to continue 4. Choose destination location, click next to continue 5. Installing 6. Installation complete. 6 V-Ray for SketchUp

Activating V-Ray for SketchUp 1. After finishing the installation, run the Sk etchUp program.The We lcome page should come up automatically. V-Ray for SketchUp installs under the plugins fol der by default. 2. The InstallShield Wizard will ask you to select one of the op tions. If you haven't purchased V-Ray for SketchUp, you can choose I want to eval uate V-Ray for SketchUp, but I do not want to activate at this time. 3. If you already have a serial number, you can select the other option, I have a serial number and I want to activate V-Ray for SketchUp. Then click next. 4. Enter your serial number then click next. It will start activating. 5.Activating usually takes several seconds to finish. After activation is comple te you will not need to activate it again when you start V-Ray for SketchUp. V-Ray for Rhino V-Ray for SketchUp 7

Before you start rendering with V-Ray for SketchUp When rendering an image with any rendering program, including V-Ray for SketchUp , you must understand three main factors that will affect the image: Lighting, M aterials, and Mapping. Lighting plays the most important role among these three. It will affect the color, shadow, reflection and refraction among every single object in the scene. V-Ray for SketchUp is a rendering engine equipped with Glob al Illumination (GI), which helps the users setup the lighting for entire scene easily. So they don't have to spend a lot of time adjusting lighting location an d brightness. The concept of GI is very simple. Imagine a room has a window but no light in it. The natural light from the outside of the room comes in through the window so the room doesn't look completely dark even though there is no ligh t in it. Some people even call this the lazy boy lighting. Its purpose is allowing the users to have the most natural light possible without spending too much tim e to achieve it. V-Ray for SketchUp also supports High Dynamic Range values, als o called HDRI (High Dynamic Range Image). With a normal 24bit, 8bit per channel RGB image (Low Dynamic Range Image), the brightest white color you can get is R2 55, G255 and B255. But this is still thousands times lower than what the sun lig ht can produce. With the HDR file format, users can have more control ranging fr om dark to bright. The HDR is a very special image file format. It usually start s with professional 360 degree photography, then transforms to 96bit full scene image by using professional HDR software. The benefit of using HDR is that you c an use this full scene image as your render light source. It also can be used as the back ground rendering. V-Ray for SketchUp also supports regular image file formats as light source for GI. However, it is still limited when using HDR imag e format to describe the lighting environment. Together with other regular image file format simulated lighting environments, it usually being used only as supp orting lighting for the entire scene. That means adjusting the setting of major light sources is still a very important work in V-Ray for SketchUp. We will disc uss more about how to use lighting, materials and mapping later. (above HDR and renderings are supported by Dosch Design ) http://www.doschdesign .com 8 V-Ray for SketchUp

Understanding V-Ray for SketchUps Default Settings Rendering with the Default Settings The Default Options in V-Ray for SketchUp ar e set up so that certain elements of V-Ray are already enabled. This is good bec ause certain aspects that are specific to V-Ray are already configured with a pr oper setting. However there are a number of elements which are contributing to t he final render, and it is important to know what they are so that unwanted resu lts are avoided when we start adjusting the render options ourselves. Key Elements in the Default Settings There are three main elements specific to V -Ray that are creating some of the aspects of the default render. These elements are Indirect Illumination, the V-Ray Sun and Sky, and the V-Ray Physical Camera . These elements will be explained very briefly here, and you can reference othe r chapters in the book for a detailed explanation of these elements. Indirect Il lumination is simply light that does not come directly from a single light sourc e. In V-Ray this typically references two types of light; Global Illumination an d Bounced light. Global Illumination is simply a dome of light that is emitted a round the scene, and this can make setting up lighting very quick and easy. Boun ced light is simply the light energy that is bounced from a surface. This bounce d light is what allows V-Ray to create high-quality renderings. explanation of I ndirect Illumination please refer to page 66. The V-Ray Sun and Sky is physicall y accurate lighting model allowing for easy recreation of the effects of the Sun and Sky. This is an excellent tool for setting up exterior renderings with a su n. Due to the nature of the model in which the sun and sky are based off of, you will find that under standard conditions the sun and sky will be extremely brig ht. Because of this the V-Ray Physical Camera is used to expose the scene and br ings the rendered image to a desirable level. The V-Ray Physical Camera is model ed after a real-world camera and can be used to expose a scene. In the real worl d, lighting is different in many situations, and because of this a photographer will use the capabilities of the camera to properly expose the image. Proper exp osure means that the image is not overly bright or too dark. When creating rende rings this gives us the opportunity to set our lighting as it would be in the re al world (in this case it is the Sun and Sky) and adjust our camera settings unt il we achieve the desired result. The detailed explanations of the Sun and Sky a nd the physical camera are on page 79 and 82. For a more in depth V-Ray for SketchUp 9

Render Options for V-Ray for SketchUp Open V-Ray for SketchUp - Render Options The V-Ray for SketchUp Options controls all rendering parameters. You can open this Render Options from Plugins menu ab ove or click directly on the VRay Options. Save and Load Option settings There are many Options settings in V-Ray for Sketc hUp. Users can save the current settings, or save different files according to d ifferent scenes, different render quality settings, or different render engines. From File>Save to save Options setting. Use .visopt as the file format. It's ab out 2KB in file size. When the SketchUp file is saved, all changes in V-Ray Opti ons setting will also be saved. Use File>Load to load saved .visopt Options file s. It will replace the current settings. Use Restore Defaults to restore the ori ginal V-Ray settings. Open file Chairs-Original.skp. There are 3 chairs and a very large floor in the file. All objects are not assigned to any material and there is no light in the scene as well. Please click the blue render icon from above directly and you wil l get this gray tone image without changing any setting in the V-Ray Options. 10 V-Ray for SketchUp

Open V-Ray Options window and pull down the Global Switches, Environment and Ind irect Illumination taps as illustrated below. 1. Global Switches Please uncheck Hidden Lights and Default Lights under the Lig hting section. Hidden Lights means hiding the lights from the scene. 1 It is used when the users don't want to see any light while modeling in the scen e. When uncheck the Hidden Lights box, those hidden lights will not affect the V -Ray render. To prevent these hidden lights affect the final render output, we r ecommend you uncheck the Hidden Lights first. Default Lights means V-Ray built-i n lights. Users can 3 4 not see nor edit these lights from the scene. If one uncheck the Default Lights and does not check the GI below, the render will turn out totally black. We also recommend you check the Low thread priority under the Render section so that it won't 2 affect other program while rendering with V-Ray. 2. Indirect Illumination Please check the On under the GI section. That turns the Indirect Illumination on, so called the Global Illumination. We will explain those green dot items more later . 3. Environment Environment is to control the contract, color, and HDR of the G lobal Illumination. Please check the boxes before GI and Background. Please adju st those three items then select the blue render icon on the top. You will get t he image with Global Illumination. Compare to the image without Global Illuminat ion, you can see the objects don't have dark shadow because the objects get ligh t from all around. V-Ray for SketchUp 11

The image is in blue tone is because the default environment color of V-Ray is s et in light blue of R204, G224, B225. Please check the box under GI to enter the color selections. Change the Sat from 62 to 5. The color is changed to light bl ue of R250, G252, B255, which is very close to white. Click OK to exist then cli ck on the blue render icon to color the image. The image color becomes very clos e to white like the image on the right. Because the chairs and floor are not assigned to any materials, V-Ray gives the objects SketchUps default white layer as material. To know how to assign the mate rials to the objects and make adjustments, we need to open the Properties tab. Two ways to assign materials in V-Ray 1 . Press Ctrl+A to select all the objects in the scene then righ-click the objects, select V-Ray 12 V-Ray for SketchUp

2. In the material window, select Default_VRay_Material, then click apply. 3. Now the objects are applied with materials. You can open the Material Editor to edit and create materials. Another way to assign materials is through the material editor. Please refer to page 15 V-Ray for SketchUp 13

Material Editor in V-Ray for SketchUp Material editor can be pulled out from the icon under VRay for SketchUp tool box , from Material Editor from Plugins V-Ray tab, or by right-clicking the Edit but ton in Properties window. V-Ray Material Editor V-Ray for SketchUp's Material Editor has three parts: A . Material Workplace shows all the selected materials. Right click to add, import, export, rename, remove, and select the objects with current materials, such as assigning current materials to the selected objects, deleting materials that are not used in the scene, and adding layers with reflections, refractions to the m aterials. B . Material Preview, the Update Preview button allows you to preview the adjusted materials. C . Options for material control. The options change wit h the added scene materials in section A. B C A Click on Update preview button to update the preview image to current materials. 14 V-Ray for SketchUp

Diffuse Layer Color: used to apply color on material. The m box on the right is used to apply pattern and arrange sequence. Transparency: used to adjust the col or transparency. Black is completely opaque and white is completely transparent. How to add new material: 1 . Right click on Scene Material, select Add new material, Add VRayMtl. 2 . Rig ht click on Scene Material, select Import new material to import a saved materia l file. 3 . Right click on object, click on Create button to add a new material. V-Ray for SketchUp 15

How to duplicate a material: Under Material Workplace, right click on the material you wish to duplicate, and select Duplicate. This is another way to add a new material. How to change the name of a material: Right click on the name of the material you wish to change, and select Rename. T he name of the material can not have a number in the first digit or spaces withi n the name How to remove material: Right click on the name of the material you wish to delete, and select remove. I f the material being removed is applied to the objects in the scene, V-Ray will show a pop-up window to ask if you want to remove it for sure. 16 V-Ray for SketchUp

Others Right click on the material you wish to export, and select export to export this m aterial. The file extension is .vismat, the file is 1 KB. This file can be impor ted or sent to other users later on. Another three selections: 1 . Select Objects by materials: Selects the objects in the scene with this mate rial. 2 . Apply materials to object(s): Applies this material to selected object s in the scene. Any materials under the Scene Materials can be applied to objects by right-click ing on the model object. Purge unused materials: Right click on Scene Materials to select purge unused ma terials to remove materials which are not applied on the scene objects. You can not use undo to undo the change in Material Editor. V-Ray for SketchUp 17

Material Usage 01 . Open Chairs-GI.skp file. Select all the objects. Right-click over the model , select Vray for SketchUp, and click Create to add a new material. Material Edi tor will show a new material named DefaultMaterial under Scene Material. 02 . Re name this new material as Ground. The file sets V-Ray Options to GI and has GI e nvironment light and background color. Hidden Lights and Default Lights are clos ed. Other options remain default. 03 . Select Diffuse to enter color selections .V-Ray's default color is R-128, G 128, B128. Change the color to light gray as: R230, G230, B230 then exit 04 . Ri ght click on Ground material. Select Duplicate and rename as Chair-Orange. 05 . Left click on the empty spot to deselect the objects. Go to Top view and select these cups from top left to bottom right. Then go back to Material Editor and ri ght click on Chair_Orange and select Apply material to objects V-R ay auto mati ca lly update s th e ch ange s of mate ri als to th e objec ts . It is not nece ssary to apply mate ri als aga in. 18 V-Ray for SketchUp

06 . Click on Diffuse and change the color to R248, G134, B0 (orange) and exit. 07 . Render and see if you get the same result like the image on the right. 08 . Duplicate the CHAIR-ORANGE material and rename it as CHAIR-GREEN. Repeat 06 and set the value to R127, G255, B178 and exit. 09 . Apply this Chair_Green mat erial to the bottom right cup 10 . Duplicate the Chair_Green and rename it as CH AIR-RED. Repeat 06 again and set the value to R244, G40, and B11 this time. 11 . Select the cup on top and apply the CHAIR-RED material to it. 12. Render and see if you can get the same result as the image below. V-Ray for SketchUp 19

Add Lights We didn't add any light to the scene so far, however, the render turned out pret ty good already. The shadow is kind of smooth because we used GI as the only lig ht source. So we still need to add more lights in order to have more depth to th e image. 01 . From the Vray toolbar, select the seventh icon from the left (Crea te Rectangular Light). 02. From Top view, follow the steps below to create Rectangular Light in the sce ne. 03. Start from bottom left. 1 04. To complete creating the light, make your second left click to the top right of the scene as shown. 05. Select this Rectangular light you just created. 2 20 V-Ray for SketchUp

06. Go to the Front view, select the move tool and drag the light to the top, ap proximately 4X of the height of the chair. 07. Render it and you will get a very bright image like the one below. That's be cause the V-Ray's default setting of the Rectangular Light is set to No Decay. P lease follow the steps below to adjust it. 08. Select the Rectangular Light. Right click on Object and select Edit Light. 09. Uncheck the No Decay. This will make the distance between the light and obje cts being considered rendering. while That means the object further away from the light will get less light and become dark er. To make the object brighter, you can either increase 10. When uncheck the No Decay, the default setting of the intensity is set to1. Please change the Multiplier from 1 to 4. the intensity of the light or move the light closer to the object. 11. Hit Render again and you will get a much better result like this one below. V-Ray for SketchUp 21

Here are some images with different intensities. MULTIPLIER=1 MULTIPLIER=3 MULTIPLIER=5 MULTIPLIER=7 22 V-Ray for SketchUp

The Characteristics of Rectangular Light Rectangular Light plays a very important role in V-Ray. Despite its easy of use, it also gets a smoother final result. Unlike the Point Light, Rectangular Light doesn't have the worry about the angle of the light. It also allows reflective material to bounce the light around the scene. Other type of lights will not be seen in a reflective object. Below are some important characters about Rectangul ar Light. Size does matter See images below and you will find the size of the Re ctangular Light has an affect its intensity. Shadow changes according to the size. Larger Rectangular Light spreads out to a larger area, so the shadow is not as clear as you will get from a smaller Rectan gular Light. Compare images below and you will see the differences between two d ifferent light sizes. The one on the left is rendered with smaller light. If you want to have a stronger shadow, we do not recommend you set the intensity way h igh and make the light size really small. It's better to use a different light t ype in V-Ray. Please see dialogue box of how to create a Point Light later. V-Ray for SketchUp 23

Impacts on reflective objects due to Visible and Invisible Rectangular Light The re is an Invisible option in Rectangular Light. It allows the light visible or i nvisible from the render image. See images below. The one on the left has the In visible option unchecked so the light appeared in the image. When apply a reflec tive material to the object, the light will also being reflected on the object. The image on the right has the Invisible option checked. Thus, you don't see the light in the image or on the object with reflective material applied to it. The default setting for Rectangular Light has the Invisible option unchecked. If yo u see any unusual dark shadow in your rendered image, please check if your camer a is blocked by the Rectangular Light in the scene. Double Sided Option You can tell the direction of the light from the SketchUp face orientation of th e Rectangular Light. Reverse the face and you can change the direction of the li ght. The Double Sided option can turn the light direction from one side to both side of the light. Just like to create two lights with opposite directions. Move the light away from the floor or wall to avoid any black out area. Double Sided option usually used when renders a big interior scene. It helps to lit up the s pace without using too many lights. Normally we don't use it when render a produ ct scene. There will be more discussion about lighting and environment lighting later on. The default has the Double Sided option unchecked. Of course, if you c heck and Invisible option, you will not see the light in those three images on t he next page. 24 V-Ray for SketchUp

1. Light direction towards the left side. 2. Light direction towards the right side. 3. Double sided option checked Pay attention to the size, location and intensity factors of Rectangular Light b ecause they will affect the brightness and shadow clarity of your final result. If the light is placed too far away and the subject is not bright enough, you ca n either increase the intensity or size of the light. On the other hand, you can lower the intensity or reduce the size of the light if you place the light too close or too bright. You will need to keep adjusting the size, location and the intensity of the rectangular light in order to get good lighting result. V-Ray for SketchUp 25

Material: Reflection Layer This section is about how to add and edit the reflection layer. Please right-cli ck on the red chair in the scene. Select V-Ray for SkethcUp > Edit Material. Adding Reflection Layer 1 . Click on the + next to Chair_red under Scene Materials to pull out all the lay ers. Right click on Reflection Layer. Select Add new layer to add a new reflection layer for this material. There will show Reflection under the material control section, as it shows on the right. 2. To remove a new added layer, right click on the layer you wish to remove then select remove. 3. By Default the reflection layer has a fresnel map which varies the amount of reflection based on the viewing angle. If that map is removed then the reflectio n is constant over the whole material. Since the reflection color is set to whit e this leads to complete reflection on the whole material. materials. This is a good setting for chrome or a mirror, but not most 4. Now we will go through the specifics of the fresnel map. Click on Reflection on the right section, and then click on the m box to set reflection. 26 V-Ray for SketchUp

5. If it is not already enabled scroll down the box next to Type, and then selec t Fresnel. Fresnel IOR is to control the reflection intensity. Keep the default value of 1.55, then click Apply. 6. Click on the Material Preview again. The Material now has reflection quality with the same color on it. 6. Notice the m on the right side of the Reflection is now changed to M. That means the Map has some other characters assoc iated with it now. Please use the same method and apply Fresnel to other colors and render it. 7. Below image rendered with Fresnel IOR set to 2.5, it has more reflection and looks more like a metal texture now. The chai r has some black reflection due to the default setting of the background color i s black. Under V-Ray Environment, change the color under Background to white and see what will you get. V-Ray for SketchUp 27

Fresnel Reflections Fresnel Reflections are a naturally occurring phenomenon tha t states that an object becomes more reflective the greater the angle at which i t is seen. An example of this principle would be a window that is seen from stra ight ahead as opposed to at an angle. Through manipulating the Index of Refracti on (IOR) the reflective characteristics of an object can be changed. A lower IOR means that a larger angle is needed between the observer and the surface before the object begins to reflect. A higher IOR means that a smaller angle is needed , which in turn causes the object to reflect sooner. To have your renderings be more physically correct it is recommended to have the IOR of an object correspon d to its actual IOR. Below are six rendered samples each with a different Fresne l IOR. The last one is a rendered with full reflection to creae a chrome materia l. Reflections and Highlights Wondering why V-Ray rendering engine doesn't have the highlight option built int o it? The truth is that the highlight is created by reflecting a very bright obj ect or light in the scene. It also called lightsource. Some rendering engines us e Highlight to create lightsource if there isn't any lightsource in the scene. B ut current V-Ray for SketchUp version does not support this option. SO you must create Rectangular Light or other self lit object as lightsource for the scene. 28 V-Ray for SketchUp

Other parameters within the Reflection Layer Every object has certain degree of reflection. Some are very strong, and some we ak. But this doesn't mean we have to apply reflection to every single object in the scene because that will increase your rendering time significantly. Reflecti on Glossiness You don't always get clear reflection from reflective material. Ob jects like matte finish metal, wood and some plastic materials do not reflect th e lightsource clearly due to its uneven surfaces. This is because the uneven sur faces create many reflecting angles for light to bounce around. So the highlight is not as sharp if compare to reflection from smoother surfaces. The best way t o create this kind of rendering quality is playing around the setting of both Hi ghlight Glossiness and Reflection Glossiness The default value for both Reflecti on and Highlight Glossiness is 1, which means that the reflections will be perfe ctly sharp. Once the value is decreased below 1 the reflections begin to become blurry. A value of 0 would mean that the reflections are completely blurred, and this would look similar to a material without a reflection layer at all. Settin g this for regular materials would cause extremely long render times. A good ran ge for creating glossy reflections is between .5 and 1. At values below .5 the e ffect is similar to a material without reflections. Below are results from combinations of various intensities of Reflection Glossin ess and Fresnel IOR. Fresnel IOR 1.2 1.5 1.8 2.1 2.4 2.7 Reflection Glossiness 1.0 0.9 0.8 0.7 0.6 V-Ray for SketchUp 29

Fresnel IOR 5.0 10 Reflection Glossiness 1.0 0.9 0.8 0.7 Chrome 0.6 Reflection Glossiness 1.0 0.5 0.9 0.4 0.3 0.2 0.1 0.8 Samples of Reflection Glossiness 0.7 0.6 Reflection Filter The filter color is used to apply color to reflections. You ca n see that by changing the filter color on each of the renderings below the colo r of the reflections change. The magnitude of this effect will change based on t he strength of the reflections themselves. In the case of materials which are ve ry reflective, filer color may be an effective way to change the objects appearan ce. 30 V-Ray for SketchUp

Refraction Layer Open file: Chairs-Refraction-Original.skp . We are going to introduce how to add and edit the refraction layer. Select the red chair from above. Right-click on object, select V-Ray for SketchUp>Edit Material to edit the chairs material. Add Refraction Layer 1 . Click on the + to the right of the Chair_Red, and then right click on Refraction Layers. Select Add new layer. You will see the Refraction la yer added to the right of the window. Controlling the amount of transparency 2. If you don't see the transparency from the material preview window, that's be cause the Transparency is set to black. Use this color to adjust the degree of T ransparency. Click on the color and change it to white, which will give you 100% of transparency to the material. V-Ray for SketchUp 31

3. Click on the Update Preview again and you will see the transparency, but with out its original red color. When you set the transparency to 100% white, no matt er what you have for diffuse color, it will not show up. It will render like rig ht hand side image below. The color of refractive materials When you want to apply color to a refractive m aterial, the best way to do this is through the Fog Color, which is located to t he lower right of the Refraction dialog box. 4 . Click on Fog Color and change it to the same color as the original Diffuse C olor. Click on the Update Preview and you will see the red color show up on the material this time. Image on the left is what you will get. Do the same changes to the other two col ors and you will get the image looks like the one to the right. Under Render Env ironment, change the background color from black to white and see what you will get this time. 32 V-Ray for SketchUp

Fog Settings Explained The appearance of Fog depends on three parameters; Fog co lor, Fog Multiplier, and object size. The Fog color is a very important factor, and the wrong color can make it hard to achieve your desired effect. It is best to set your color to a very light or desaturated version of the desired color. T he Fog multiplier will be determined by the Fog color and the object size. The o bjects size is important because Fog is created by calculating how much light pen etrates an object. Therefore, a larger object will absorb more light than a smal ler object. This means that a single setting will not necessarily produce the sa me effect from object to object. The image on the left is two spheres with the s ame material applied to them, but the sphere on the right is 4 times larger. The images below are tests of different multipliers with a saturated and desaturate d color. Fresnel IOR 1.55 Refract IOR 1.55 IOR 1.55 Fog Color R244, G250, B230 Fog Multiplier 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 2.0 Fresnel IOR 1.55 Refract IOR 1.55 IOR 1.55 Fog Color R175, G250, B0 Fog Multiplier 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 2.0 V-Ray for SketchUp 33

Adjusting Refractions with Index of Refraction IOR (Index of Refraction) is used to calculate among of the light refracted from transparent object. The newly added IOR default is set to 1.55. Please see the chart for typical objects' IOR value. Material Vacuum Air Alcohol Crystal Diamond Emerald IOR 1.0 1.00029 1.329 2.0 2.417 1.57 Material Glass Glycerin Ice Ruby Sapphire Water IOR 1.517 1.472 1.309 1.77 1.77 1.33 Default set the Refraction IOR to 1.55; please refer to images below for setting of IOR to create desire material. Please note that reflection and refraction IO R values are separate, but to achieve an accurate effect these values should be the same Refraction IOR 1.00 1.05 1.10 1.15 1.20 1.25 1.30 1.35 1.40 1.45 1.50 1.55 1.60 1.65 1.70 1.75 1.80 1.85 1.90 1.95 2.00 2.05 2.10 2.15 2.20

2.25 2.30 2.35 2.40 2.45 34 V-Ray for SketchUp

The Glossiness of Refractive materials Both refractive objects and reflective ob ject have option setting for Glossiness. The difference is that Reflection Gloss iness only affects the surface, where Refraction Glossiness will have an effect on the objects transparency. The Glossiness of a refractive object usually used to represent different type o f glass, for example, frosted glass. The refractions will become more blurry as the value is decreased, and at a certain point these refractions will become so blurry that they prevent what is behind the object from being distinguished. Refraction Glossiness default is set to 1.00, please refer to images below for i mpacts on different settings of Refraction Glossiness. Images below set the Refr action IOR to 1.55, you can see the Glossiness changes gradually from 0.85. It c hanges rapidly between 0.80 and 0.75. When the setting for Refraction Glossiness remains the same, different Refraction IOR will change the Glossiness of the ob ject. Refraction Glossiness 1.00 0.95 0.90 0.85 0.80 0.75 0.70 0.65 0.60 0.55 0.50 0.45 0.40 0.35 0.30 0.25 0.20 0.15 0.10 0.05 Just like the intensity of the Fog Multiplier affects its transparency, the Refr action Glossiness in thicker object becomes more obvious. Refraction Glossiness 1.0 Refraction Glossiness 0.6 Refraction Glossiness 0.6 Gradient Map V-Ray for SketchUp 35

Image below shows the influence of Refraction Glossiness material to objects beh ind it. Objects further away become very blurry. Shadows of refractive materials There is an Affect Shadow option to the right hand bottom corner of the Refracti on dialog box, default is unchecked. When checked, the color of the transparent object will affect its shadow and it's not black anymore. The shadow also become s more depth as well. It is recommended to always have Affect Shadows checked, a s it produces a more realistic effect Images below show the difference with and without the Affect Shadows checked. 36 V-Ray for SketchUp

Double-sided material Under Options of each material, you will find this Double-sided selection. Defau lt setting is checked. This option is particularly important for transparent mat erial. When this option is unchecked, light that enters the inside surfaces will not be rendered and show up black. The reason to have this option is that somet imes you may want to uncheck this option when render object with translucent mat erial (See next page) in order to get the right texture. Unless you want to crea te some special effects, please have this option checked The double sided option will not have any affect on the shadows of the object Translucent material We've talked about changing the Diffuse color to get the de gree of transparency we want to create before. White means 100% transparent, bla ck means 100% opaque. You can create translucent materials with colors anywhere between white and black. But now we want to introduce a different translucent ma terial. It is related to special light absorption materials. Open file: Transluc ency.skp and render it, you will get image like below on the left. You will see that colors where partitions meet the outside box and at the base of the box are darker. This is because the thickness of the object changes and the light trave l distance changes also. So the degree of light absorption varies. To create thi s kind of material, you have to check the Translucency option under the Refracti on. V-Ray for SketchUp 37

Check the Translucent box under Translucency first. Thickness is for control of light pass through the object, the unit for this is unclear. Keep these three se ttings as default. Other items required to change include: 1. Double-Sided must be unchecked so the light can get through to the inside of the object. This sett ing is extremely important 2. Change the IOR to 1 3. Decrease the Refraction Glo ssiness to a value below 1 4. Do not use white color for the Transparency becaus e that will turn the object to completely transparent and become dark after rend ered due to absorb too much light. Do not use black color, either. That will not allow light get through the object at all. Pick a color anywhere between Val 80 ~150 will give you the best result. Many rendering engines use Sub-Surface Scatt ering (SSS) to create this kind of material. This material is good for creating things like: wax, skin, milk, cheese, plastic and jade which all have a little t ranslucency in it. Translucency is created by absorbing light to the object's su rface so the color of the object will show up a little darker than its original color. If you still think that it's too dark even though the original color is s et to the highest Val 255, the best way to fix it is increasing the intensity of your light in the scene. Below are some examples. 38 V-Ray for SketchUp

Emissive Materials Open file: Chairs-Emissive-Original.skp and we are going to show you how to crea te a selfilluminated material. Select the green chair on the right. Right-click on object and select V-Ray for SketchUp> Edit Material to open the Material edit or dialog box. Add Emissive Layer 1 . Click on the + next to the Chair_Green to pull down the layers. Right click on Emissive Layers and select Add new layer. You will see the new Emissive layer added to the right side. Open the Emissive menu. Default set the color to white, intensity to 1 and Trans parency color to black. Click on Material Preview and you will see a completely white material ball. Render it and you will get the image like the one on the ri ght. Self-illuminated material can make the object become a lightsource itself. It do es not limit to a certain shape like a regular light type does. Every part of th e object can be illuminated and used as a lightsource. Self-illuminated material is perfect to create objects like: light ball, light t ube, light shade, stylish lighting, cold light and lit screen. However, emissive materials should not be used as the primary lighting for a scene If you are using a physical camera in your scene, you may notice that your light emitting materials render black or darker than expected. This is because the ph ysical camera reacts differently to light than a regular camera does. Because of this you may have to make your light emitting materials significantly brighter in order to be rendered by the physical camera. V-Ray for SketchUp 39

Adjust the Intensity Default set the Intensity to 1. Below images are rendered with Intensity of 3 (l eft) and 5 (right). Adjust the color Default set the color to white. Click on the color box to chang e to a different color. Notice that if the setting of the Intensity is too high, the color of the object itself will become close to white. Only the light come out from this self-illuminated object will carry the correct color. So we recomm end you not to use this as a normal lightsource. Just make it as a decorative ob ject in the scene. Please refer to below image chart for results of various Emis sive Intensities. By controlling the degree of Transparency under the Emissive C olor, you can still keep the diffuse color of the object. For example, when the Intensity is higher than 2, the diffuse color is washed out and become white. To avoid the self-illuminated object become white, please also refer to the Color Mapping Emissive Color R200, G161, B82 Emissive Transparency R100, G100, B100 Intensity 0.0 0.1 0.2 Diffuse Color R155, G155, B155 Diffuse Transparency R0, G0, B0 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 2.0 3.0 5.0 10 40 V-Ray for SketchUp

Emissive Textures Except using colors as light source for the self-illuminated m aterials, you can also use texture map directly as light source. 1 . Click on th e m to the right of the Color under Emissive control panel. 2 . The Texture Editor will then open up. Select Bitmap from Type's pull down menu and you will see th e control panel show up to the right. 3. Under Bitmap, click on the m to the right of the file and pick a bitmap to use as the light source 4. After the bitmap is selected, the m now becomes M. Click on the Update button to preview the bitmap. Click on Apply and you can use this bitmap as the light sour ce. 5. Click on Update Preview and you will see the Bitmap is now on the material ba ll. Render it and you will get the result as the image on the right. V-Ray for SketchUp 41

Please note that if any type of map is being used in Texture Editor, the Color a nd Intensity under Emissive will no longer function. You can't use these two opt ions to control the brightness of the material any more. You need to click on th e M and go back to the Texture Editor and adjust brightness there. All other contr ol options in the Texture Editor work the same like this. Click on the M and go ba ck to the Texture Editor window. Please pay special attention to below options a s these options are often used for controlling the Bitmap texture map. Multiplier: Controls the intensity of the Bitmap. Default set to 1. Increase thi s number will intensify the color tone, brightness and color contrast. Preview w ill not show much of difference if the value is too small. Blur under Bitmap: Co ntrol the blurriness of the Bitmap. Default set to 0.15. Set to 0 will not have any blur effect to the Bitmap. Override under Bitmap: Adjust the Gamma value of the Bitmap. Increase the value will make the Bitmap brighter. parameter is also important for linear workflow Tile: Repeat the Bitmap texture on the object. Def ault set to selected. When uncheck the Tile, you will see only one Bitmap textur e on the object. UVW Repeat: Controls how many times a map is repeated within a given space (either within the surface, or within mappings) UVW Rotation: Adjust the degree of rotation of the Bitmap This The darker environment lighting will not affect the Bitmap setting for self-illu minated material (ipod image). The Bitmap will still render as its own setting f or brightness. Use the same way to create cold light effect. Also showed below a re two other examples. 42 V-Ray for SketchUp

Texture Mapping Texture Mapping For most of the time we can't just use reflection and refraction to create a mat erial for an object. For example: stone, wood, painting, package, sticky back pa per and textile. We must use some texture maps to create these materials. Below are some examples of using texture map for rendering. Open file: Texture-Mapping_01.skp . Render the scene directly after opened and y ou will get the result as left image with only reflection material applied to it . Image to the right is the result of applying textures map. 01.Assign materials to the objects by using the paint bucket and Material Editor in SketchUp. You will notice the texture mapping is not to scale and not proper ly oriented by default. 02. Right-click on one surface, select Texture>Position to adjust the texture rotation and scale. V-Ray for SketchUp 43

03. Scale and rotate texture map as desired. Right-click and select done. 04. Click on the View menu and select Hidden Geometry in SketchUp. Repeat textur e adjustment for one face of cylinder and sphere. 05. Select the eye dropper tool from the Materials rollout to sample the adjuste d textures. 06. Using the selection tool, select all the geometry to be updated with the adj usted texture. Once selected, select the paint bucket and apply the texture to t he geometry. 07. Open the Material Editor and add a new VrayLinkedMtl from the Scene Material s. 08. Select SketchUp Material to add to VRay Material Editor. 44 V-Ray for SketchUp

09. Pull down the projection menu and change it from surface to planar. 10. Repeat for all materials. You can add reflection, refraction layers like a t ypical V-Ray material. 10. Image below is rendered using Linked Vray Materials. V-Ray for SketchUp 45

Bump Maps Adding a Bump Map Although we can use Bitmap for most materials of the objects, but some textures like wall surfaces, tile, wood, oil painting, leather and wate r, which all have the uneven surface, must use Bump map in order to create them. 1. Click on the brick cube and open the Material Editor to edit the Bump map to the brick material. Under the Maps from the right side of the Material Editor, check the Bump and click on the m to open the Texture Editor 2. Same as before, se lect Bitmap under the Type pull down menu. 3. Click on the m to the right of Bitmap, select the appropriate grey-scale bump m ap texture for the brick. 4. After importing the map, if the Bump map is the same as the Diffuse map, make sure the U, V Repeat under UVW Transform have the same value. For example, if B ump map is using U: 2 and V: 2, the Diffuse map should be the same. Otherwise, t hese two maps will not align correctly. Also, start the Multiplier on the left s ide with value like 1 and increase as necessary. 46 V-Ray for SketchUp

Image on the left is result of using only brick Bitmap. The surface of the block looks very smooth. Image on the right is rendered with Bump map added to the en tire block. Obviously you can see the Bump texture within the brick surface. And also, earlier we talked about using Reflection>Glossiness to adjust reflecti ng material's glossiness and create frosted look of the object. If add a little bit of Bump map to it now will make the object looks even better. Image on the l eft is using only Glossiness from Reflection setting. Image on the right has Bum p map added to it. Below are some examples of textures created with Bump map. Bump map is created using the grayscale of the Bitmap to set the high and low te xture. The bright part of the Bitmap is considered as high part and the dark is low. The Bump map is seen more clearly at the part where the object reflects the most of the light. Using Bump map texture to create bumped texture is only a vi sual effect, not the true surface of the object. Look at the edge of the object and you will still see the smooth surface. V-Ray for SketchUp 47

Displacement Displacement allows you to recreate the texture of a surface by using a black an d white image to describe the varying height of the surface. This is very simila r to how bump mapping works, but each method does this in a different way. Bump mapping simply shifts the surface according to the image applied to it, without actually changing the geometric structure of the surface. This causes bump mappi ng to be somewhat limited in its capabilities of representing those surfaces. Di splacement on the other hand actually creates the geometry that is described by the image. This is done by subdividing a given piece of geometry and adjusting t he individual heights of all of the faces based on the image that it is describi ng. The result is a surface that produces a much more accurate and realistic res ult. Adding Displacement Using displacement is very similar to using bump mappin g. In fact, you can probably use your current bump maps as displacement maps. In the Maps rollout of the material options there will be an option for Displaceme nt. Enable displacement by clicking the check box on the left, and the proceed t o click on the m to add a displacement map. Although textures are used for displac ement maps in most situations it is possible to add a displacement map via the p rocedural mapping. Once either a texture or procedural mapping is added there is one last thing that you will have to pay attention to while still in the textur e editor, and that is the multiplier. The multiplier is what is actually going t o determine the final size of the displacement this will reference the Amount va lue in the Displacement rollout. Displacement Parameters In the V-Ray for Sketch Up Options there is a rollout which contains the parameters for displacement. It is important to note that these are global controls for all of the displacement through out the scene. Currently there is no individual controls on a per objec t or material level. This means that you must be aware of the settings within th is rollout when adjusting an individual materials displacement. The Amount value may possibly be the most important value within the rollout, as this value will determine the scale of all displacement. The Amount value is th e number of scene units of an object with the texture multiplier set to 1. This means that one could adjust the affect of displacement through either the Amount value or the texture multiplier, but because the Amount value affects all displ acement, it is recommended that it be left constant and the texture multiplier b e used to adjust the displacement of an individual material. Both the Maximum Su bdivisions and the Edge Length will affect the quality and speed of the displace d mesh. Maximum Subdivisions will control the amount of subdivided triangles tha t are allowed to be created from a single triangle of the original mesh. In gene ral, it is better to have a slightly denser mesh and lower maximum subdivision r ather than a simpler mesh and a higher maximum subdivision. Depending on density of the render mesh created by SketchUp, the max subdivisions may not necessaril y come into play. The edge length will determine the maximum length of a single triangle. By default this value is expressed in pixels, but if you disable ViewD ependant then the edge length value will reference your scene units. Smaller val ues will lead to a higher quality, while larger values will decrease the quality . 48 V-Ray for SketchUp

Adjusting Displacement Depending on how you set up your global displacement valu es you can set up your texture multipliers in one of two ways. The first way, wh ich is the simplest, is to keep the Amount value in the displacement options at 1 and to adjust the texture intensity as an expression of scene units. The plane on the left has a texture multiplier of .5, which in this case leads to a maxim um displacement of .5 units. The plane on the left has a multiplier and maximum displacement of 2. Example 1 The second way to set up displacement by making the maximum displacement the Amo unt Value in the V-Ray options and setting the texture multipliers as a percenta ge of that maximum value. It the case of the two planes to the right the Amount value is two. The plane on the left has a texture multiplier of .25 and the plan e on the left has a multiplier of 1. You will notice that the rendered image is the same in both cases. That is because it is does not matter the method that is chose, only that the multipliers are inline with the desired effect. The image on the left is an example of the different quality settings for displacement. Th e plane on the left has an Edge Length of 24 pixels and a Maximum Subdivision of 6. The plane on the right has an Edge Length of 2 pixels and a Maximum Subdivis ion of 512. Example 2 Here is a comparison of bump mapping (left) and displacement (right) . Both the maps and intensities are the same. As you can see the bump map is limited in its ability to create the depth that is capable with displacement. V-Ray for SketchUp 49

Transparency Mapping What's Transparency Mapping? Transparency mapping is another method using Bitmap to create materials. The difference is that this is using alpha channel to get rid of unwanted part of the Bitmap, saving only the part covered by alpha channe l. This is called a mask. This is used mostly for creating product logos, sticke rs and numbers. Many users try to avoid using transparency mapping and model the actual object in the scene. Although you can ignore material settings by creati ng the actual model of objects, that will increase both the number of objects in the scene and the file size. The more objects you get, the longer the rendering time you would need. You will get the result as left image if you apply the tex ture map directly without transparency map. The black background of the texture map is blocking part of the block. The image on the right is rendered with trans parency map. Open Cup_Red.3dm. Here is the object and the transparency map that we will use t o create our label. You will get the result as left image if you apply the texture map directly with out transparency map. The black background of the texture map is blocking part o f the cup. The image on the right is rendered with transparency map. 50 V-Ray for SketchUp

1. Click on the chair and open its Material Editor. Open Chair_Red ; right click on Diffuse Layers to add a new layer and you will have the dialog window as ima ge on the right. A Diffuse1 control panel is added under the Diffuse 2. Click on the m at the right of Transparency under Diffuse to enter the Texture Editor. Load the Bitmap for Transparency texture map. Make sure you uncheck the Tile first to avoid repeating this Bitmap on the object Use Photoshop, PhotoImpa ct and similar image editing software to create black and white image and save a s .bmp, .jpg or .png which are the formats accepted by V-Ray. 3. Use Diffuse1 color to edit the color for this Transparency map. Click on the m at the right of Color to add more texture to this map if needed. Render it and will get image like below. The Transparency map is covering the en tire chair. V-Ray for SketchUp 51

V-Ray Linked Material The V-Ray Linked Material, or VrayLinkedMtl as it appears in V-Ray for SketchUp, is a material that allows easy creation of Vray materials from SketchUp materia ls. It establishes a link from materials created in SketchUp to materials in the Vray material editor. This is very useful particularly with materials that have textures applied since it retains proper UVW mapping. It is also useful when re ndering SketchUp scenes that were created prior to Vray for SketchUp as well as scenes from created by others. Adding a V-Ray Linked Material Open the material editor and right-click on Scene materials and go to Add Material. This will in t urn bring up another menu with several different material formats. Click on Add VrayLinkedMtl which is the second one down. You will get a prompt to choose the SketchUp material you want to link. Simply choose and click Apply. Working with V-Ray Linked Material Now that the Vray Linked Material has been added, we will expand the material and notice that this looks the same as a standard Vray mater ial with the exception that the word Linked appears in front of the material name. You can now add emissive, reflection or refraction layers to that material just as you would a typical Vray material. Any layers added to the Vray Linked Mater ial will be controled through the Vray material editor. You have additional cont rol of the Vray Linked Material through SketchUps materials rollout where you can adjust the diffuse color as well as add texture maps and control opacity. The V ray Linked Material automatically is updated with these changes and take effect on the geometry that it is assigned to. Its important to note that after you crea te a Vray Linked Material, if you want to assign the linked material to new geom etry, you do it through Vrays Material Editor and not just simply assign the Sket chUp material. In this example, the chairs were assigned a SketchUp Blue materia l This was then linked into Vray Material Editor. The materials color was then ch anged to red in the original SketchUp material to red and you can see when rende red, the Vray Linked Material rendered the chairs red while still keeping the re flection layer in place. 52 V-Ray for SketchUp

V-Ray Two-Sided Material The V-Ray Two-Sided Material, or Vray2SidedMtl as it appears in V-Ray for Sketch Up, is a material that allows easy creation of very thin translucent objects suc h as paper, lamp shades, or curtains. It works with the very simple controls so its much easier to control the result then using a translucent material, and it renders significantly faster as well. Due to the nature of this material it is a ctually best to have single surfaces rather than a solid, as you would need for any refractive material. Adding a V-Ray Two-Sided Material First we will need to add a Two sided material. Open the material editor and rightclick on Scene mate rials and go to Add Material. This will in turn bring up another menu with sever al different material formats. Click on Vray2SidedMtl which is in the middle. Wo rking with V-Ray Two-Sided Material Now that the Two-Sided Material has been add ed, we will expand the material and notice that this looks much different then t he standard V-Ray material. This is because the Two sided material works with pr edefined materials. There are two slots, one for the front material and one for the back material, as well as color which will determine the ratio between the f ront and the back material. You cannot actually create a new material once insid e the Two-Sided material as it only works with predefined materials. When you cl ick on the button for the front material, a dialog box will open up asking you t o choose which material you would like to have be the front material. You must a lso define a material a material for both sides, but you can define the same mat erial for both sides. If you dont specify a material for either the front or the back, then Vray will assume that there is no material. The color is how V-Ray de termines the ratio of front material to back material. The color works with gray scale values, and produces the best results between 35-220. Colors on either end of the spectrum will tend to yield results of almost completely one material, w hich defeats the point of using the two-sided material. If you would like to recognize which faces are the front and which are the back, then you can configure backfaces to be a different color when they appear in th e viewport. 52 V-Ray for SketchUp V-Ray for SketchUp 53

V-Ray for Sketch-Up Two-Sided Material The V-Ray for Sketch-Up Two-Sided Material, or VraySkp2SidedMtl as it appears in V-Ray for SketchUp, is simply a material that allows for the front faces of a m aterial to have a separate material than the back faces. It can be very useful w hen creating very quick conceptual renders when trying to convey ideas with mini mal modeling. This tool developed out of Sketch-Up users desire to create a V-Ray material that would act with different materials as the standard SketchUp mater ial does. Adding a V-Ray for Sketch-Up Two-Sided Material First we will need to add the Sketch-Up Two sided material. Open the material editor and rightclick on Scene materials and select VraySkp2SdMtl which is the last option. Working with V-Ray for Sketch-Up Two-Sided Material The Sketch-Up Two-Sided material looks v ery similar to the V-Ray Two-Sided material. It has two slots; one for the front material, and another for the back material. As with the V-Ray Two-Sided materi al the materials cannot be created from within the Two-Sided material, but must be already created in order to be added to either the front or the back material . Although it Is possible to utilize much of the features of the standard V-Ray material within the Sketch-Up TwoSided material, it is not recommended to use an y refraction layers within materials used for the Two-Sided material. Unlike the V-Ray Two-Sided Material, which needs a material for each side, the Sketch-Up T wo-Sided Material will work just fine without a material defined for each side. For whichever side does not have a material assigned, that side will not be rend ered. This can be very useful for architectural visualization, and can be used t o look inside rooms with the appearance of the wall still affecting the illumina tion of the enclosed environment. 54 V-Ray for SketchUp

Environment Lighting Lighting plays the key role in the rendering process. You simply can't get a goo d rendering result without a good lighting environment. Same as the real space l ighting, light sources are divided into direct and indirect lighting. Direct lig hting is using the light command to create Rectangular Light and Omni Light to u se directly on the object. Indirect lighting refers to any lighting which is fro m bouncing light, or an environment Lets do a test Open file: Chairs-Illuminatio n-01.skp, there is no light in the scene. Light source is from Environment light . 1. So far the chairs and ground are using the same Val230 off white color. Rende r it with GI default setting to 1 and get the result as image shown on the right . 2. Increase the GI value to 2 without changing the color, the result is shown on the right. 3. 01. Do not change the GI value and change the Brightness to Val 55 under the Texture Editor. Render it again and the resul t is very close to the first image on the top. The reason for doing this test is to let users understand the importance between lighting and material. Should the lighting be adjusted to accommodate material or should material be adjusted to accommodate lighting? V-Ray for SketchUp 55

It is clear from the previous example that the lighting must be adjusted to acco mmodate materials. With the second image from the previous test if we created an other material and inserted into the scene, it would not render how we created i t. Heres another example. Lets take the shirt that youre wearing right now. What c olor is it? If you walked into a closet with no light, what would the color of y our shirt be? The answer is that the color of your shirt would be the same, BUT it would appear different based on the lighting environment. This is why you sho uld adjust your lighting to achieve the desired affect, as opposed to changing t he materials. With an incorrect lighting environment, such as the second part of the example o n the previous page, it will be very hard to predict how your scene will react. When adding an new material, it will not look how it did when you created it, th us making it harder to achieve the original intended appearance for the material . Incorrect lighting also has an adverse affect on other aspects of your renderi ng and may affect shadows, reflections, and even make your rendering take longer than it should. Now you see why having a proper lighting solution is very impor tant Interior or Exterior? When facing the task of illumination, separate it int o interior illumination and exterior illumination. Here exterior means open spac e. For example, place an object on the ground without any wall surrounds it to b lock the light. It's easier to adjust illumination for open space. Interior mean s light source is blocked by wall or other similar objects in the scene, an encl osed space in which the environment light will not have the direct effect to the object. Or maybe some openings on the wall or windows allow part of environment light comes through them. Interior lighting is generally more complex than exte rior lighting. Image on the left shows open space illumination and image on the left shows the semi-open space illumination. Image on the left shows the same semi-open space but add one more opening to the wall. The brightness increased due to second opening added to the wall. Image o n the right shows different locations for openings also affect the brightness of the scene. 56 V-Ray for SketchUp

Techniques for adjusting illumination Before rendering the scene, try to finish all the modeling as this greatly simplifies the task of adjusting the illuminati on. The number of objects, object location, material type, color and even size w ill all affect the illumination in some way. When beginning to create the lighti ng solution it is important to have a solid base in which to begin evaluating ho w you will need to light your scene, as well as how it will react to lighting. W ith Vray this task is very easy because of how the environment light works. Basi cally with youre environment color set to white (255,255,255) and the intensity s et to 1, you should get a neutral lighting of your scene. This is useful in that it will allow you to properly assess the appearance of your materials, as well see if there are any areas of your scene which will naturally receive more or le ss light from the environment. Now lets see this in action. Open file Chairs-Ill umination-02.skp . This is an easy open space example, there is no light added t o the scene, and the Environment color and intensity are currently set to Val 25 5 and 1 respectively. Using a white floor color is important as it will show the most amount of light that will effect the scene. This is because white allows t he most amount of light energy to be retained after it bounces off a surface. Wi th the white floor, we know that if we change its material to something that is darker, than we can expect a little less bounced light in our scene. In an exter ior scene like this one the effect is minimal, but when creating an interior ill umination solution this is an important thing to know 1. Assign the Val 230 colo r to floor, R244 G40 B11 red color to chairs first, render it and result as 2. R e-assign the R255 G150 B135 red color to the cup and render; you will get the re sult as below. From the two images above we can see the colors for the floor and cup are render ed very close to actual colors, which means the Environment lighting is set to c orrect intensity and brightness for creating good illumination. Otherwise, if th e intensity is too strong, it will make the floor and cup appear brighter that t he values that we set when we made the material. Now that we have a good render we can begin the task of adding more lighting into the scene. Depending on what you are trying to create this may only required one additional light (the sun pe rhaps) or many lights. The important thing to remember is that the lighting must be balanced. Since we already have a scene which would become overly bright, or burned as it is sometimes called, if any additional light is added there must b e a compromise between the different lights. In most cases this will mean that t he environment intensity will be decreased, but the ratio between environment li ghts and other lights is something that you must determine. Try out different op tions; one where the environment light is stronger than other lights, and anothe r where other lights are stronger than the environment. V-Ray for SketchUp 57

HDR Environment light Instead of using a color for an Environment light source, V-Ray also supports HDR images to use as Environment light source. Open file Cha irs-HDR_01.skp . 1 . O p e n V - R a y f o r S k e t c h U p s Re n d e r Option s, open Environment menu and click on the m at the right of GI to enter the Textur e 2.Choose Bitmap from Type, click on m beside File and import an .hdr file. HDR Images courtesy of Wouter Wynen http://www.aversis.be 3. Because the textures is being applied to the environment and not an object ma ke sure you check the Environment under UVW after the file is imported. Render i t and will get the image on the right. You will see a big difference between thi s image and the image that used only color for Environment light source. This is because the HDR is providing the illumination for the scene based on the colors and intensities of the image. 4. If you want the object reflect the HDR image Environment as well, you can ass ign the same HDR image to the Environment Background, and make sure the UVW is s et to Environment. After the Background HDR is added, the result is as image on the right. 58 V-Ray for SketchUp

To compare, below are three images rendered with different HDR images as the Env ironment light sources. You can see the light and color change dramatically acco rding to each HDR image. Due to the fact that HDR images are usually provided byothers, the lighting envi ronment may not product the desired effect. It may take sometime to adjust the i ntensity. Although HDR image has produces better results than a normal image, HD Rs stll lack the true brightness of a natural environment. So normally it's used only for Environment light source, and usually some additional light is added. V-Ray for SketchUp 59

Bitmap Environment light source If user does not have HDR image, a regular Bitmap can be also used as Environmen t light source. Although a normal Bitmap doesn't have the same ability to create as dynamic an environment, normal images are very easy to get. As long as you p ick the right Bitmap and control the Intensity well, it can still be a very good Environment light source. The three images on the right are rendered with diffe rent Bitmap. Compare to those rendered with HDR images, it is not as easy to det ermine the direction of the light and the shadows are not very clear. 60 V-Ray for SketchUp

Environment light source for semi-open space We used open space to discuss Envir onment light source for last example. Now is time to use semiopen interior space for this example to see differences between interior and exterior illumination Open file: GI Environment-01.3dm . In the scene is a enclosed cube with an open on the top. There are some objects placed on the wall next to the opening wall a nd there is no light in the box. All objects used Val190 gray color, current GI Intensity is 2, color is light blue. Render it and you will get the almost black image on the right. The result is due to no light in the scene and only a small opening allows the Environment light come in. Increase the GI Intensity to 4 and render it again. The result is as below, a li ttle bit brighter this time Increase the GI to 8 and render again. The result is closer to reasonable illumination. This example shows that Environment light in semi-open spaces usually doesnt lead to a proper solution the first time. When begining to set up the illumination f or interior space, a first step should be to check how many openings in the scen e allow environment light to come in. This includes transparent object like wind ow or door. It is also important to know how many lights are intended to be in t he final scene, as well as what time of day the rendering is meant to depict. Th ese are all very helpful for setting the Environment light correctly. V-Ray for SketchUp 61

Even if the Environment lighting is set to the desired level for the final scene , you will still wind up having to adjust it based on the materials and other li ghts that will be added to the scene. Very often the camera got moved during thi s process and the quality and brightness are not what you were expecting. Even t hough the interior lighting is under control, once the camera is pulled out from the box, you will get the bright white rendered result as the image on the left . It will still be necessary to add light in the room, adjust the brightness and render as image on the right. 62 V-Ray for SketchUp

Choosing different Render Engines In order to calculate indirect light within V-Ray a render engine must be specif ied to compute those calculations. disadvantages V-Ray uses two render engines t o calculate the final rendered image. Open Indirect Illumination control panel u nder Options. There are Primary Engine and Secondary Engine options in the panel below. There are four options for Primary Engine: Irradiance Map, Photon Map, Q uasi Monte-Carlo and Light Cache. Default is set to Irradiance Map. There are th ree options for Secondary Engine: Photon Map, Quasi Monte-Carlo and Light Cache. Default is set to Quasi Monte-Carlo or you can select None to not use this Engi ne. When switching between different engines, the control panels will also chang e according to the assigned engine. Each engine has its own method of calculatio n and each with its own advantages and Clasification of Light bounces Direct light- This is the light which is calculat ed directly from a light source. If GI were not enable, or if there were no engi ne selected of either primary or secondary bounces the rendered image would be t he result of only the primary bounces. It is not necessary to specify an engine for these calculations as these are done through standard raytracing. Environmen t light is not considered a form of direct light. Primary bounces- this the ligh t which is the first bounce after the direct light hits a surface. Usually these bounces have the greatest effect on the scene in terms of the indirect lighting , as these bounces retain a significant portion of light energy. Environment lig ht is calculated as a primary bounce. Secondary bounces- this is all of the ligh t which bounces around the scene after the primary bounce. As light bounces arou nd a scene, its intensity, and therfore its affect on the final illumination, be comes less and less. Because of this secondary bounces can all be calculated thr ough a single method. With exterior scenes these bounces have a relatively insig nificant effect on the final result, however with interior scenes the bounces ca n become as important as primary bounces. It is important to remember these clas sifications when evaluating an images quality, and adjusting settings to either a chieve better or faster results. V-Ray for SketchUp 63

Primary Engine: Irradiance Map It can only be used for primary bounces. Open fil e Chairs-Irradiance-Map-01.skp and open the Irradiance Map control panel under O ptions. There is a very important setting option here related to image quality: Min Rate and Max Rate. Default for Min Rate and Max Rate are -3 and 0. In this f ile they are currently -8 and -7. Render it and you will get image as below. Not ice that the calculation speed is very fast, but the shadow and illumination qua lity are low. There are splotchiness and artifacts as well Min Rate: the control of minimum sample for each pixel. 0 value means 1 pixel as 1 sample. Value of 1 means 2 pixels as 1 sample. Value of -2 means 4 pixels as 1 sample and so on. Smaller value means fewer amount of samples been taking from the object, so the render qualities of shadow, reflection and refraction are not very good. Opposit e way will result in better quality but longer render time. Max Rate: To control the maximum sample for each pixel. 0= 1 pixel uses 1 sample. 1= 1 pixel uses 4 samples. 2= 1 pixel uses 8 samples and so on. Smaller value means fewer total sa mples used to calculate the light. Opposite will result in better quality but lo nger render time. Default setting of -3 and 0 represent four passes of render job. From -3, -2, -1 to 0. So you can see the Prepass 1 of 4 to Prepass 4 of 4 from the render proce ss dialog box. According to definitions above for Min Rate and Max Rate, it does n't mean that -8 and -5 setting will have the same result of -3 and 0, eventhoug h each has the Users can have a low set of values for Min and Max Rate to render faster previews while creating the lighting and material setting in the scene. For example: -6 and -5 or -4 to -3. Although the quality will very not be good i t will be okay for previews. After all settings are correct, then render with hi gher value to get the best final quality image. Image on the left is showing Irr adiance Map's last prepass for a Min/Max Rate of -3/0. The image on the right is the final result. 64 V-Ray for SketchUp

Image on the left is showing the last prepass of -4 and -3. Image on the right i s the final result. Image on the left is showing last prepass of -3 and -2. Image on the right is th e final result. Image on the left is showing -3 to 0. Image on the right is showing -3 to 1. Alt hough the one on the right has the better final result, but the difference is ve ry little. V-Ray for SketchUp 65

When working with complex images it may be necessary to do more than just adjust the Min and Max Rate. Subdivisions are the next means of quality control with I rradiance Map. Higher subdivisions will yeild better quality. With Higher subdiv isions it may also be necessary to add more samples. In the examples below both images have been calculated with the same Min/Max Rate, yet the Subdivisions hav e been increased from 50 to 100, and the samples have been increased from 20 to 40. You can see in the arangement of the irrandiance points (the little white do ts) that the second image is much smoother. When Min Rate and Max Rate are too low, leaking light happens even if the objects are joined together. See image on the left for example. This is due to lack of S amples when calculating the Prepass. Of course, this only happens when using Irr adiance Map rendering engine. Image on the left is rendered with Min Rate and Ma x Rate of -4 and -3. You can see light comes through the corner clearly. The ima ge on the right increased the value to -3 and 0 and you can see a big improvemen t. 66 V-Ray for SketchUp

Primary Engine: Quasi Monte-Carlo Quasi Monte-Carlo is the most accurate method of light calculation in V-Ray. It is most useful for scenes with a lot of small details. The downfall with this method is that it takes significantly longer to render. There is also no prepass for this calculation as it is done as the image is rendered. Image on the left is rendered with Irradiance Map. Image on the ri ght is rendered with QMC. Although the one on the right looks slightly grainy, t he colors are reproduced much more accurately with the QMC calculation. QMC generally produces a slightly grainy result. One of the ways you can improve this is by using a different image sampler. Open the Image Sampler tab in Rende r options and change the Sampler from Adaptive Subdivision to Adaptive QMC. Alth ough Adaptive Subdivision produces predictable and fast results, Adaptive QMC wo rks very well when QMC is used for primary bounces. Now change the Max Subdivisi ons to a higher number such as 50. This will help decrease the grain in the imag e. With QMC it is much easier to set up a rendering as there are very few settings that will need to be adjusted. be a factor in QMC renders. Artifacts such as lig ht leaks and splotchiness will not It is recommended that QMC only be used for final, or high quality test images ue to the amount of time required to complete the render. It is a good idea to se Irradiance Map or Light cache for test images, then switch to QMC for final mages. Results similar to QMC can be obtained through Irradiance Maps, usually ith less time than QMC, so it may not be completely necessary to switch to QMC or final images depending on the situation. V-Ray for SketchUp 67 d u i w f

Secondary Engine: Light Cache Light Cache is used for Secondary Engine to calcul ate light distribution in scenes. Its calculated in a way that is very similar t o Photon Mapping. With Photon Mapping the calculation starts from the light sour ce and collects light energy along way. Light Cache starts from the camera inste ad. Some advantages to using Light Cache are that It doesn't have many settings to deal with and it renders quite fast. The image on the left is rendered with c ombination of Irradiance Map and QMC and the image on the right is rendered with combination of Irradiance Map and Light Cache. The image on the right is slight ly brighter. This is due to the fact that Light Cache calculates an infinite num ber of secondary bounces, where QMC only calculates a predetermined number of bo unces. Although each of these bounces individually is insignificant, their added affect increases the brightness of the image. Subdivs is the most important factor for Light Cache. Subdivs is used to decide how many light traced to use from Camera to calculate the light distribution. Th e actual number of traced is the square of the number of Subdivs. As default of 1000 for example, the actual number of traced rays will be 1,000,000. When deter mining how many Subdivs will be sufficient for an image, the best way is to look at the progress window, monitor the appearance of the image in the frame buffer , and approximate the number of samples according to the progress and total numb er of samples. Say the Subdivs number is 1000 for example, when the Subdivs is h alf way through its calculation, the rendering window's black dots are almost go ne, that means you only need to set the number between 500~600 and you will get the correct render result. If the process is done but still have a lot of black dots in the window, that means more subdivs are needed to produce an accurate re sult. Image below is showing a Light Cache calculation which still has a large n umber of black spots. 68 V-Ray for SketchUp

Another important option with Light Cache is the Sample Size. This is used to de termine the size of each sample. A smaller number will yield more detail and a s harper image, where a larger number will loose some detail but have a smoother r esult. With each of these images the primary and secondary bounces are calculate d with Light Cache. The images on the left has a sample size of .02 and the imag es on the left has a size of .03. With both cases the top image is the result at the end of the Light Cache calculation and the bottom image is the rendered res ult. It is important to note that Light Cache is not appropriate to be used for primary bounces, as it does not produce smooth results or good details. It is on ly being used as a primary bounce in this case to illustrate the difference in s ample size Scale in Light Cache In order to determine the size of each sample, Light Cache gives itself a scale to work with. The default setting for scale is Screen. This means that each sample is a percentage of the image. The default value is .02, or 2 percent. Which means that the size of each sample is approximately 2 percen t of the total image. It is possible to use the scene units to determine the siz e of the samples. To do this change the scale to World, and now the sample size is in scene units. The advantage to using screen units over world units is that with screen units more samples will be added to objects which are in the foregro und of the image. With world units many samples will be added to objects far awa y, while objects which are closer to the camera will receive fewer samples. Beca use of this issue it is recommended to keep the scale at the default value of sc reen. V-Ray for SketchUp 69

Lighting Dialog Box Below are all light types' details supported by V-Ray for SketchUp. Each light's content is different. Other then color, multiplier and shadow on/off, each also has Subdivs for shadow quality control, Photon Map for render quality control, Caustic Subdivs control and Bias for shadow offset. The difference is only with Point Light which has the ability to adjust the radius of shadows. Point Lights are the ones that need to control the Decay itself: Linear, Inverse and Inverse Square. The last two Decay dramatically. So when using Inverse or Inverse Square , you must increase the multiplier. That means Point Lights are very much affect ed by the distance from an object, so it will take longer time to adjust these l ights. Rectangular Light Point Light 70 V-Ray for SketchUp

Light and Shadow The quality of Shadow Unless the shadow is turned off, all objects will cast sha dow under light. The quality of shadow is controled by Subdivs under lighting di alog box. Rectangular light for example, under Sampling>Subdivs, please change t he default 8 accordingly to get desire shadow quality. The higher number will co st more time to render. When set it to 32, you can get the almost perfect shadow without any noise. Image on the left is rendered with Subdivs set to 8; image o n the right is set to 32. Radius for Shadow edge When using Point lights, the shadow edge will be very sharp. To improve it, adju st the Radius under Shadow dialog box. Using Point Light here for example, image on the left is rendered with Radius set to 0. Image on the right is rendered wi th Radius increased to 10. V-Ray for SketchUp 71

Depth of Field What's Depth of Field? Depth of field refers to the amount of an image which is in focus and the amount which becomes blurry. In photography it is impossible to have every part of an image in perfect focus. Because of this a photographer ch ooses what will be in focus and what will not. Within Vray this will correspond to the focal distance. The amount in which an object which out of focus depends on how far the are away from the focal distance of the camera as well as the siz e of the cameras aperture. A small aperture will have a only a slight amount of b lurriness for objects which are not within the focal distance. A large aperture will have a large amount of blurriness for objects outside the focal distance. O pen V-Ray for SketchUps Render Options. Pull down Camera control menu and will se e the big item of Depth of Field below. Default is set to off, check it if you w ant to have the depth of Field in the final rendering. Depending on the way your camera is set up you may want to check Override focal distance. With out this s etting enabled V-Ray will use the focal distance of the camera. How to find out the current setting of focus distance of the camera? 1. Open file Chairs-DOF.skp . You will see the image below which shows the dista nce between the chairs. Please note the distance between the camera and the chai r in the center which is 67 away. This is the number we need for the override foc al distance, which is 800. (800 inches = 67 feet). Its important to note that exa ct location of camera was identified with ruby script Note Camera Point from www.s mustard.com website. 72 V-Ray for SketchUp

Image on the top is rendered without Depth of Field and image on the bottom is r endered with Depth of Field. Size of Aperture There is Aperture located at the top of the control panel for D epth of Field under Camera. V-Ray doesn't use the same number unit of F1.4 F2.0 F11 as normal camera does to control the amount of light comes into the camera b ut use the system unit for its size. Smaller number has less effect on Depth of Field. Larger number will make the object very blurry and takes longer time to r ender. Especially when calculating the edge of object for Depth of Field effect. So we recommend you start with smaller number and move your way up if you need stronger effect. This scenes aperture was set to 24. I recommend you try differen t values and see what results you get. V-Ray for SketchUp 73

Below are some images showing more example of Depth of Field. The glass cups are products of Nachtmann from Germany. 74 V-Ray for SketchUp

Physical Camera The Physical Camera feature allows the cameras reaction to light to mimic that of a camera in the real world. This means a much more natural reaction to light as well as an added dimension of control over the lighting of your scene. There ar e also added ways to adjust your rendered result. Type of Camera In V-Rays physic al camera parameters you will see that there are three options within the types of cameras. The first is a still camera, and the other two, cinematic and video, are for use with animations. We will only be concerned with the still camera, a s the others are used to do camera matching with existing footage. The still cam era may still be used with animations, and produces great results. Exposure In the real world, exposure is the act of light affecting film or a sen sor, and there are three aspects that dictate the resulting affect of the light. The first is known as ISO speed. The ISO speed refers to the sensitivity of the film or sensor. A larger ISO speed corresponds to a greater sensitivity to ligh t. The second aspect affecting the exposure is the aperture. This corresponds to the size of the opening that allows light to pass to the film or sensor. This v alue is referred to as F-stop, and smaller values equate to a larger opening, an d thus more light. The last component that will contribute to the exposure is th e Shutter Speed. The shutter speed is the amount of time that the light is allow ed to affect the sensor. A longer amount of time will allow in more light, leadi ng to a brighter image. Adjusting Exposure Now that we know what determines the exposure how do go about properly adjusting it for our image. This can be done through either of the thr ee parameters: ISO, Aperture, or Shutter Speed. In order for these parameters to have an affect on the exposure of the image Exposure must be checked in the phy sical camera settings. Depending on some of the other affects that are being use d adjusting the camera via one parameter might be more appropriate than another. V-Ray for SketchUp 75

Using Aperture When using aperture to adjust exposure remember that there is an inverse relationship between the value and the result. Meaning that a small valu e will increase the brightness of your scene, and that a large value will decrea se the brightness of your scene. If you have depth of field enabled, then the ap erture value will determine how much depth of field will be in your scene. A sma ller value will create a narrow depth of field, in which objects will have to be closer to the focal distance of the camera in order to stay in focus. A larger value will create a greater depth of field. This will allow objects to stay in f ocus even if they are farther away from the focal distance. If you are trying to get achieve a particular depth of field, then it is recommended that you adjust the exposure through the shutter speed or the ISO setting. F-Stop= 6 F-Stop= 8 F-Stop= 12 Using Shutter Speed Shutter speed can be another good way to adjust the exposure of your image. The parameter itself actually expresses itself as 1/x. In other words inputting a value of 4 actually means a shutter speed of one quarter of a second. Therefore a larger value actually means that the shutter speed is faster , and that will translate to a darker image. If you are doing any animation, wit h either moving objects, a moving camera, or both and also have motion blur enab led then the shutter speed will have a direct effect on the amount of motion blu r. A longer shutter speed will cause a greater amount of motion blur, where as s horter shutter speed will decrease the amount of motion blur. The amount of blur ring will also be determined by the speed of the objects as well. If you are try ing to have a certain amount of motion blur, then it would be advised to test di fferent shutter speeds until the right amount of blurring occurs, and then adjus t for exposure with either aperture or ISO value. Shutter Speed= 60 Shutter Spee d= 100 Shutter Speed= 180 76 V-Ray for SketchUp

Using ISO The ISO value is extremely useful for exposing a scene. With rendering the ISO value does not have any side effects or byproducts like aperture or shu tter speed. This allows you to tailor the other parameters to the needs of your scene, and the ISO can act as the determining factor in the final exposure of th e image. This would be extremely useful to properly expose a scene with both dep th of field and motion blur. The ISO values are also have a linear relationship which is not the case with both aperture and shutter speed. For ISO values a lar ger number will also mean a brighter image, which may be easier to remember. ISO Value= 200 ISO Value= 400 ISO Value= 600 Adjusting white balance The white balance feature allows you to compensate for t he color of the lighting of a scene by determining which color V-Ray interprets as white. This can be very useful for counterbalancing the color of the V-Ray su n, accurate color matching for placing rendering in a photo, or a quick and simp le adjustment of the tone of an image. Typically colors used for adjusting the w hite balance of an image are lighter and under saturated. Color= 255,255,255 Color= 165,215,255 Color= 255,220,190 V-Ray for SketchUp 77

Sun and Sky The V-Ray Sun and Sky are based off of research to accurately depict the sun and sky, which allows for easy recreation of the Sun and Sky. They are intended to work together as well as react to the angle and direction of the sun. In order t o add a V-Ray sun type Sunlight into the command line. This will bring up the Su n Angle Calculator. This will allow you to input time, day, and location. Once y ou've set your desired parameters, click Okay and it will ask for an insertion p oint. Any place is fine for the sun, so don't worry too much about where you put it. With the light selected open up the light properties and you will see all o f the parameters for the V-Ray sun. Using the Sun with the V-Ray Physical Camera In order to properly use the sun, it is a necessity that it be used in conjunct ion with the Physical Camera. The Sun itself is extremely bright, and in order t o maintain the characteristics of the model, the sun must be kept close to its c orrect intensity. To counteract the intense brightness of the sun it is importan t to create a proper exposure of a scene with the physical camera. Using the phy sical camera will also help accurately capture the correct colors of the sky as well. Accessing the Sun Properties The properties of the sun in V-Ray for Sketch Up are controlled in conjunction with the Physical Sky properties u n d e r t h e Te x t u r e E d i t o r f o r G I ( S k y l i g h t ) u n d e r Environment r ender options. Here you will find many different controls which change the appea rance and affect of the sun. For right now we will maintain the default values E xposing Your Scene with the Physical Camera Since the best way to make use of th e Sun is to also use the physical camera, access the V-Ray Options and in the Ca mera rollout enable the Physical Camera. To determine the correct exposure you w ill need to do a quick render of the image. If your image is too bright, or over exposed, then you will need to adjust the F-stop, shutter speed, or ISO value to compensate. It maybe helpful to view the color values in Float format, as this will help you determine the true brightness of your image. This can be viewed by right-clicking and holding anywhere in the frame The image to the left was rendered using the V-Ray Sun and the Physical Camera. This image used the following values to achieve the correct exposure: F-Stop= 16 , Shutter Speed= 300, ISO= 200 If you do not want to use the physical camera it will be necessary to decrease t he intensity of the sun by a significant amount, however, the sun and sky may no t act in the way it was designed. 78 V-Ray for SketchUp

Adding the V-Ray Sky In V-Ray for SkechUp the Sky is added in the environment ro llout of the V-Ray options, click on the "m" next to GI parameters. You must hav e Indirect Illumination enabled to access this, so enable it if you have not alr eady. Clicking the "m" should bring up the texture editor, and under Type select Sky. At the top you will notice the option to select a light source, the Sketch Up sun is selected by default and VRay knows where the sun direction is coming f rom. Lastly, there is an option next to the button that says Override Sun's Para meters. This allows separate settings for the Sun and the Sky, but for simplicit y and continuity it is recommended to have this unchecked. Now go ahead and repe at this process for the background. If we render again we'll notice that our whi te ground plane has a slightly blue hue to it. This is due to the influence of t he sky on our scene. Time of Day and the Suns appearance Now that we have added the sun and sky, lets s ee how the sun reacts to changing the time of day. In order to change the positi on of the sun, simply adjust the time of year and day using SketchUp Shadow Sett ings. (You can adjust the location through SketchUp Model info). Now the appeara nce of the scene has completely changed sole based on the position of our sun. T his allows users the flexibility to worry only about the time of day rather than adjusting the appearance and intensity of the sun and the background. Morning M id-Day Evening Changing the Suns Appearance with Turbidity Although the time and position of the sun will have the most affect on the appearance of the Sun and Sky, there are s everal other controls that will be helpful in adjusting their appearance. Turbid ity essentially changes the amount of dust that is in the air. Values on the low er end or the spectrum will create a very clear blue sky as you would see in the country side. Having larger values will make the sky slightly yellow or orangis h as you would see in the city. Think of turbidity almost as a control for the h aziness of the sky. Turbidity= 2, Clear Day Turbidity= 5, Slightly Hazy Turbidit y= 8, Very Hazy Day V-Ray for SketchUp 79

Changin the Suns Appearance with Ozone The other useful parameter in adjusting th e sun is Ozone. Ozone changes the color of the sun itself from a slightly yellow tone to a slightly blue tone. This can be very useful for fine adjustments to t he appearance of the sun. Ozone= 0 Ozone= 0.5 Ozone= 1 Gamma Correction and the V-Ray Sun and Sky Due to the physical nature of the sun and sky model it is intended to be rendered using a gamma corrected linear work flow. Gamma correction compensates for a monitors tendency to display mid-tones d arker than they actually are. Most programs embed the correction for this into t he image, but because of the nature of how V-Ray processes color information it does not correct for this. Ultimately the result is that the Vray Sky will appea r too dark if it is not corrected for display on our monitors. Also if the image is not gamma corrected the influence of the sky will not be accurate either. Ne edless to say, gamma correction is very important, extremely so when using the V -Ray Sun and Sky. The image on the far left is has no gamma correction. This cau ses the sky to be dark and its colors to be inaccurate. The closer image has bee n gamma corrected, which brightens the sky as well as having colors which accura tely represent the skys influence. Enabling Gamma Correction In order to gamma co rrect images both the inputs (textures and colors) and output need to be adjuste d. This is very quick and simple to do with V-Ray as well as not impeding on wor kflow. In Global Switches, there is a section in the bottom right corner contain ing the controls for gamma correction. To adjust the inputs check Correct RGB an d Correct LDR Textures. To adjust the output change the Gamma value from 1 to 2. 2 80 V-Ray for SketchUp

Caustics What are Caustics? Caustic is a lighting phenomena created by some materials, fo r example, metal, glass and liquid which either reflect or refract light around the object. This happens when the light becomes focused by the materials resulti ng in a pattern of bright light. Open file: Chairs-Caustics-01.skp , open V-Ray for SketchUp's Render Options. Pu ll down the Caustic control panel at the bottom. Check the on to open the Causti c effect. At the beginning of the render the progress window will say that it is calculati ng caustics. a few minutes. Depending on the number of lights and the caustic su bdivisions of each light this process may be very quick or take Examples Image on the left is rendered without Caustic effect. Image on the right is rend ered with it. The values of Max Photons, multiplier, and Caustic Subdivs are all using default setting. With the image on the left you can see a slight caustics effect. This is due to the Affect Shadows option. This option is actually tryin g to fake the caustics effect seen on the right. V-Ray for SketchUp 81

Go back to the Caustic's control panel. Render it again with the Max Photons cha nged from 50 to 300, as the image on the right. Compare with last page you will find the Caustic effect is greater this time and smoother. Usually it's easier t o spot the Caustic effect in a darker scene. If the scene is brighter, you can t ry increase the Multiplier to offset the difference. If you want to control the quality of Caustic even better, other than increase t he intensity of light, you can also increase the Subdivs under Sampling from 100 0 to 2000 or even higher. But this will increase the prepare time for render Cau stic effect. Image on the right is rendered with Caustic Subdivs set to 3000, yo u can see the better quality of Caustic effect in this case. 82 V-Ray for SketchUp

Color Mapping The Function of Color Mapping Color mapping is used to adjust how color are actu ally displayed for a given image. When V-Ray determines a color value for a give n pixel this value is then interpreted based on the type of mappings in use. Thi s is very useful for minimizing the amount of an image which is out of the range of what can be displayed on a monitor. Types of Color Mapping Open Color Mappin g under Options, V-Ray default is set to Linear Multiply option. Linear Multiply simply means that the color will not be changed from the generated value to the displayed value. Exponential is using color intensity to control brightness and prevent wash out situation, but objects' color HSV Exponential and Exponential is very similar, but will keep the tune and inte nsity of the color, like image on the bottom left. Intensity Exponential can mai ntain the RGB ratio, and will only affect the color intensity, light image on th e bottom right. V-Ray for SketchUp 83

Adaptive Subdivisions control The default setting for Adaptive Subdivision can produce a good result. See imag e below on the left. These thin lines rendered with default Adaptive Subdivision s and had some broken line in the back. Adaptive Subdivisions Sampler Open Image Sampler under Options, V-Ray's default uses Adaptive Subdivisions as its method of calculating antialiasing. Default Min Rate is -1, Max Rate is 2. Same as pre vious discussion about Min Rate and Mat Rate, use proper value to create accurat e rendering. For this example, set the Min rate directly to 0 will fix those bro ken lines, as in the image on the right. Fix Rate Sampler Fixed Rate Sampler works in much the same way as the Adaptive S ubdivisions sampler does, but it does not have the compacity to use multiple lev els of subdivisions. Because of this, the Fixed Rate sampler is generally quite slow, although it does produce very predictable results. Adaptive QMC Sampler Ad aptive QMC Sampler is a very good sampler and pairs very well with using QMC for primary bounces. Similar to QMC the Adaprive QMC Sampler is best used for scene s with lots of small details. Although Adaptive QMC is not always the fastest me thod for calculating antialiasing, it typically produces quality results. Proper Adjustment of the Image Sampler has a direct impact on the speed and quality of the final image. For faster previews you can decrease the Image Sampler quality . For final renders it is very important to have a correct setting because a poo r setting can produce a poor quality image even if the lighting calculations are very precise. In all cases higher subdivisions will yield a better quality imag e 84 V-Ray for SketchUp

Resolution of the Image Image size setting V-Ray can ignore the size set up in SketchUp. Open V-Ray for SketchUp's Render Options. Pull down the Output control menu and check the box f or Override Viewport to have V-Ray define the image size. There are several size presets in V-Ray to choose from. User can also set the size themselves. The uni t used is pixel. The Image Aspect value is the height-width ratio for current si ze. Click on the L to lock in this ratio. Now when either the height or width is c hanged, V-Ray will calculate the other value automatically according to this rat io. Saving your image Check the Save File under the Render Output and then click on the to set up the file saving path, type and file name. When V-Ray finishes re ndering, the file will be saved accordingly. Please note that next rendering wil l override the previous one with the exact same path, type and name. The Pixel Aspect option controls the height and width ratio of the pixel. Here a re two examples V-Ray for SketchUp 85

V-Ray Frame Buffer Render image window tool box V-Ray will open a render window while rendering image. There are some important tools in it. Please see explanations below for each tool. Switch back and forth to different color channels to display the image, which is also including Alpha Channel and grayscale to display the image in black and wh ite Save the image By clicking on this icon V-Ray will render where the mouse is pointed to first d uring the last pass of rendering process (see image above). This is very helpful for those who want to see the final result of particular part of the image. If the result is not what you want, hit ESC to end rendering process right away. Op ens the V-Ray Color Clear the image. corrections box. curves, levels, From and here you can adjust Click this icon to open the pixel information dialog box. Ri ght clicking on the rendering window also displays the pixel information. exposu re. In order to see the effects you must click the corresponding icon Curves Exposure Levels This button will allow you to see the time stamp functions. Click the the stamp to the image. button to add Mouse Operation Keyboard Operation +/- > Zoom in/out Arrow Keys move around the image Ctrl+ Left click > Zoom in Ctrl+ Right click > Zoom out Double Click > 100 perce nt Middle Wheel > Zoom in/out 86 V-Ray for SketchUp

Distributed Rendering Distributed Rendering is the capability to render a single image across multiple computers. This has the possibility of utilizing multiple computers which can g reatly increase rendering speed. VRay can use up to ten computers with just one license. In order to for V-Ray to utilize these extra machines there are two thi ngs that need to be done. First, there are needs to be a way for V-Ray for actua lly use the other machine. Secondly, V-Ray needs to be told to look for those ma chines. Setting Up the V-Ray Distributed Rendering Spawner The way in which V-Ra y communicates with other computers, know as the slave machines, is through a st and alone application which is installed and run on the slaves. Any machine whic h has V-Ray for Rhino installed on it should have the Distributed Render Spawner already on the machine. If it does not, or you would like to install the DR Spa wner that does not have V-Ray for Rhino you will need to access your installatio n file or disk. Once the installation is started you will need to choose Custom setup type. Within the custom setup there will be four components, one of them b eing the DR Spawner. Disable all of the other components and click next to insta ll the DR Spawner Finding the IP address of the slave computer The last piece of information that you will need in order to utilize the slave machine is the IP address. You can g et this one of two ways. The first is to go to Network and Internet Connections in the Control Panel. From there double click on Network Connections. This will bring you to a window containing all of your internet connections. Double click on the connection you intend to connect through and that will bring up dialog bo x containing the status of that connection. At the top, click on the second tab labeled Support. Take note of the IP address as you will need this information i n a few moments. The second way of retrieving your IP address is to use the run command. You can get this by going to the start menu and clicking on Run. Now ty pe IPCONFIG which will tell you the IP address of you machine. If your computer only flashes the result, than you can type CMD.EXE into the Run window and then IPCONFIG in the resulting DOS interface. V-Ray for SketchUp 87

Starting the DR Spawner Once the DR Spawner is installed on the slave machine yo u will need to start the application. In the folder C:\Program Files\ASGvis you will find a folder called Render slave. Open that folder and you will find the D R Spawner. Double clicking on the DR Spawner will launch it, and once it has suc cessfully loaded the Spawner it ready to go. Connecting to Slave Machines Now that the slave machines are ready to go we need to tell the main computer that we are render from, also known as the client, no t only that we will be using other computers to render but also how to access th em. This is very simple as well. Within the Systems rollout of V-Ray's options y ou will see a checkbox and button for Distributed Rendering. To enable Distribut ed Rendering simply click the checkbox next to the button. Clicking on the butto n will bring up a window which will allow you to input the IP addresses of any s lave machines you wish to use. Within the Distributed Rendering window at the to p you will notice the option to Add a Server. This is where you will input the I P addresses of any machines that you will connect to. After you input any IP add resses you will want to click Resolve servers Some Considerations For Distributed Rendering With using Distributed Rendering y ou might run into several possible issues. When trying to connect to slave machi nes you may have issues of not actually getting them to render. Check any firewa lls that may be on the host or slave machine as well as any routers that you may have. Also, textures will not be transferred to the host machine by the DR soft ware. Optimally, textures should be in a single network location that is accessi ble to all machines being used, but if this is not possible then you must manual ly transfer the textures manually to a folder on the slave machine(s) that is th e same path as on the host machine. Also, if you have the capability to use Remo te Desktop Connection or a similar software, it may make the task of monitoring slave machines an easier task. 88 V-Ray for SketchUp

Sample Materials Rubber - Orange Rubber - White Sculpture - Gray_Bump Water Wax - Green Wax - Skin Argil - Brown_Bright Argil - Brown_Dark Argil - Red Carbon Fiber Ceramic - Red Ceramic - White V-Ray for SketchUp 89

Chocolate Crystal Eggshell Emmisive Glass - Black Glass - Frosted Glass - Pure Granite - Brown Granite - Sunsetbeige_Dark Granite - Sunsetbeige_Light Gypsum Gypsum - Bump 90 V-Ray for SketchUp

Hematite Ice Jade - Green Jade - White Leather - Brown-01 Leather - Brown-02 Leather - Orange-01 Leather - Orange-02 Marble - Green Marble - Red Marble - White Metal - Brushed Metal V-Ray for SketchUp 91

Metal - Car Paint_Red Metal - Chrome Metal - Copper Metal - Copper Metal - Iron Metal - Rusty Metal - Silver Metal - Stainless Milk Plastic - Blue Plastic - Orange Plastic - Red 92 V-Ray for SketchUp

Sculpture - Gray_Dot Sculpture - White_Dot Sex Toy Wood - 01 V-Ray for SketchUp 93

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